Sentences with phrase «same kind of screen»

It's now on par with the Kobo Glo HD (we have a review of that new - for - 2015 e-reader in the works), which has the same kind of screen: a 6 - inch «HD» Carta E Ink touch screen.

Apple is expected to adopt the same kind of screen for its high - end iPhone 8.

There isn't any difference in regards to that for different brands of tablets becasue they all use the same kind of screens.

Not exact matches

I've seen some really brilliant games for the phones that utilize the touch screen and whatnot, but at the same I've seen some games for systems like the Vita that really need that kind of feedback, like a physical controller.

The early talk was of a new «supercycle» — that the radical new design of the iPhone X would lead to the same kind of dramatic boost to sales we saw when Apple made its move into larger - screened phones with the iPhone 6.

To that end, they used capacitive sensing — the same kind of sensing the iPhone's touch screen relies on — to register touch, since it can tolerate a thin, nonactive layer between the user's finger and the underlying sensors.

This version provides the same experience compared to the regular site, but it's easily adjusting to any kind of mobile screen, ensuring that your love - finding activities remain uncomplicated.

Actually, it's like watching something other than a movie, like a bunch of bad acting, cheesy dialogue and laughably crap special effects, and like this kind of slapstick childish unfunny type of humour, all exploded onto your screen!!!! It's a bit like something you'd see on Disney Channel, like in the same league as Lizzie McGuire.

Fans of the surprise 2012 hit Ted will find plenty to love in this sequel, in which Seth MacFarlane takes the same approach: throwing every kind of gag at the screen in the hopes that...

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It's a shame that his first solo film falls victim to the same kind of slipshod storytelling, overloaded with characters and setpieces at the price of screen time for its lead.

A throwback to the star - driven cinema of the Fifties and a reflection of our own fanatical interest in cults of personality, the film features transparent performances (with the exception of Don Cheadle, each performer in Ocean's Eleven is playing his - or herself), and the same kind of sadistic voyeurism that impels us to simultaneously deify and find fault with our favourite actors keeps our peepers glued to the screen as George Clooney, Brad Pitt, Matt Damon, Elliot Gould, and Carl Reiner revolve around one another in a loose heist intrigue intended to relieve Andy Garcia of both his millions and his girlfriend.

A magician doesn't do the same trick twice and this is the kind of a movie that probably is best to see once on the big screen.

The same can be said for lighthearted turns from Chloe Grace Moretz and an especially appealing Sam Rockwell, who seems very much at home in this kind of comedic wounded bird persona, masking his inner remorse with a sense of humor, he has cultivated for quite some time on screen.

So you were talking about this kind of karmic circle where it comes back around — where now «Hoop Dreams,» a film Ebert helped make successful, he was someone that shined a light on these less - well - known films that had weaker marketing budgets or so forth, drew people's attention to Errol Morris, who you saw on screen, really helped launch the careers of some of these people by shining that light on them... and you were saying how from your experience as a critic and all that, you say in your own words, you yourself feel the same desire, that your job is to cast that light.

A variation on this sees you working from a list of visible items at the bottom of the screen and trying to find these, it is effectively the same kind of task but the switch to looking at pictures rather than a list makes them feel different.

Alas, this kind of exacting difficulty translates miserably in co-op play, which boils down to two kinds of experiences: a frantic circus of same - screen confusion, or the second player sacrificing almost all their agency by hopping on DK's back.

I have a hunch, though, that some kind of screening process will evolve among book reviewers, perhaps around some version of nepotism / networking — either where outlets within certain «elite» lit communities will begin reviewing talented self - published people who are also connected with the same communities — or sufficient numbers of intrepid bloggers will have the tenacity to weed through the jungle and sniff out the good stuff to review, creating a critical mass of well - reviewed, non-tradionally published authors.

I had also previously purchased an older version of the Kobo through Borders (before they went out of business) that developed the same issue, only the screen froze up WITHOUT any kind of accident happening (it was just in my bag for a week or so after having worked fine, and when I took it out to use it, the screen no longer worked.

That being said, the inkBook still suffers from the same kind of issues that all Android ereaders suffer from: most 3rd party apps don't work well because they aren't designed for E Ink screens; battery life isn't as good as non-Android ereaders; the page buttons only work with a few apps; and the Android software is less - optimized than what you get on Kindles and Kobos, and it lacks some features that they offer.

Amazon offers a similar feature on Fire tablets called Blue Shade that changes the screen color to an orangish red color at night, so it's kind of surprising they still haven't brought the same idea over to the Kindle line.

The screen is kind of too far from the glass which is instantly noticeable and the whole device just feels cheap, I wouldn't be surprise if this was design by the same dumb ass that did the Palm pre.

It's also very interesting looking at the DS and it's dual screens, it's innovation at it's primative level, but it's doing something more than reproducing the same kind of games that have caught on (action, cough cough) and adding further interactivity into it.

While Apple is quick to brag about the processing power of the iPhone 4 and iPad 2, the resulting games still feature the same kinds of finger - swiping gameplay gimmicks that we saw three years ago, as well as virtual * on - screen buttons and D - pads, which are awful.

One thing I truly enjoy about the avatar and Modern Sonic's stages, or at least in the 3D segments, is the sheer amount of multiple pathways there are, no matter how convoluted they may seem.There are also stages where both the avatar and Modern Sonic run along side each other, which opens up the multiple pathways even more, and instead of switching a character out, each of their moves is assigned to a specific button, making them act as one character, which take some getting used to due to the visual appearance of both characters appearing on screen, but is definitely optimal.There's also some level designs with certain gimmicks: at one point you're playing pinball in the middle of a bright forest with classic Sonic, and in that same forest, you'll be playing pinball with some enemies down a water slide with the avatar, were the control starts to get kind of out of hand, while Modern Sonic will face a boss that combines the level design from Lost World with this game's boost mechanics, which was probably the intention for the departure in the 2013 game.

In order to get this patent granted, they argued that the patent sets itself apart from the prior art by teaching that there be two different kinds of memory, one for the screen content and a separate one for the audio data that is generated, but Samsung's infringement theory against Apple is that it's sufficient to have two different blocks of memory (even if we're talking about the same physical memory unit).

The Austin Tenants Council will ask the same questions I did about the landlord's exact stance on this, and the details regarding the kind of screening the new roommate went through.

The same can't be said for the other issue here: The phone seems to lack any kind of palm rejection, which is a big problem if you're trying to write on a screen this big.

Those gesture controls will feel oddly familiar to anyone who's used an iPhone X: It's the same kind of upwards swipe to go to the home screen, and a swipe - and - hold for multitasking.

Although it doesn't have the same kind of battery life, stylus or water resistance as the Note 7, this 5.7 - inch beast's unique second screen and dual rear cameras make those shortcomings easy to forget.

After all, Samsung did recently reveal the Galaxy S7 will support the same kind of extended edge screen features.

Both devices have the same screen size, both use OLED panels of some kind with a similar pixel count, have the same base amount of storage, similar RAM, and both have dual - camera 12MP sensors set - ups.

Thanks to Windows 10's universal apps, everything on your phone, from Edge, Office, Maps and Cortana right down to the layout of your Start screen, now looks virtually identical to what's on your desktop, delivering the same kind of user experience...

Same with Huawei's desktop clock, which is awesome in a «sporty wristwatch» kind of way, but also so big that it can't be centered on the screen.

To keep the 5.2 - inch 1080p screen powered for longer hours, the phone packs a 3000mAh battery unit, which is kind of the standard size for all smartphones in the same screen size category.

Notifications have a bigger emphasis than ever on the lock screen now that Slide to Unlock is dead, however the way Apple displays them is kind of ugly if you get multiple notifications from the same app.

It remains to be seen whether or not Meizu will be the next OEM in line to present a full - screen smartphone with a fingerprint scanner hidden behind the display, or if the company intends on using the same kind of sensor developed by Synaptics and employed by Vivo's X20 Plus UD.